Terms in this set (15)
Time of Origin
Was born into the Parisian bourgeoisie and was a pivotal figure for the transition from realism to impressionism. Influenced by the old masters but believed that one's art should reflect the ideals and ideas of the present. Rebelled against conventional academic art. "le peintre de la vie moderne." (Painter of modern Paris)
Modern Paris of the 19th century. Still valued the realism in paintings as well as paintings of the past. There were strict regulations on the definiation and nature of great art which idealised the Renaissance and realistic works. There was a corruption of the higher class.
Borrowed the pose from Titan's Venus of Urbino except it was contriversal because of the lack of academic technique and mythology and depicted a prostitute whose features weren't 'perfected'.
Academic artists, critics and the public. The painting was larely unpopular but its unconventionality became popular with the avant-garde. Immediatly roused caricatures and paintings, other artists also appreciated the painting. Raised the issue of prostitution in contempoary France.
Oil on Canvas(Musee d'Orsay, Paris)
Were the most expediant way for an artist to make themselves known to the public. Olympia was displayed at the Salon.
A courtesan, prostitute. A class of women supported by wealthy lovers and considered to be promicuous or otherwise unrespectable.
An art movement that focused less on realism and detail and more on capturing the emotion of life. Usuall painted everyday things. (19th century)
The name Olympia was a common name ususually given to working-class prostitutes.
Her sparse jewellery and small amounts of clothing accentuate her nakedness and comfortable lifestyle. The orchid, black cat and bouquet of flowers are all symbols of sexuality. The African-American servant suggests hyped up sexuality. Olympia is ignoring the flowers and supposedly looking in the direction of the door where a customer has barged in.
Depiction of the Female Form
Olympia is thin which is a counter to previous standards. Her nakedness is also revelaed in harsh light with a lack of idealism that depicted a "real woman". The painting is also distinctly flat which makes her more human. The notion of modesty is absent and her hand defiantly covers her privates. The notion of virtue is ironic. Her gaze is also unabashed and confrontational.
Comparison (Venus of Urbino)
Deviates from academic canon with large and quick brushstrokes and the lack of depth. Olympia's hand firmly protects her sex while Venus does so delicately. (to emphasise her independance and dominance over men). The dog of fidelity is also replaced by a black cat representing prostituion.
Manet's technique and content shocked critics who were shocked at the painterly quality and blatant subject matter. ("The mob, as at the Morgue, crowds around the spicy Olympia...Art sunk so low doesn't deserve reproach.')